Sveučilište U Zadru Odjel Za Anglistiku Engleski Jezik I Književnost (Dvopredmetni)
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Croatian Digital Thesis Repository Sveučilište u Zadru Odjel za anglistiku Engleski jezik i književnost (dvopredmetni) Nikolina Brala The Representation of Female Characters in the CW's Supernatural Završni rad Zadar, 2019. Sveučilište u Zadru Odjel za anglistiku Engleski jezik i književnost (dvopredmetni) The Representation of Female Characters in the CW's Supernatural Završni rad Student/ica: Mentor/ica: Nikolina Brala Dr.sc. Zlatko Bukač Zadar, 2019. Izjava o akademskoj čestitosti Ja, Nikolina Brala, ovime izjavljujem da je moj završni rad pod naslovom The Representation of Female Characters in the CW's Supernatural rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 12. listopada 2019. Brala 4 Table of contents: 1. Introduction …………………………………………………………………………. ……5 2. Women of Horror throughout History……………………………………………………. 6 3. The Representation of Female Characters in Supernatural…………………………………..10 3.1. Women who need saving…………………………………………………………. …10 3.2. Women you need saving from………………………………………………………. 17 3.3. Women who don't need saving…until they do…………………………………………… 23 3. Conclusion …………………………………………………………………………. ……30 4. Works cited ……………………………………………………………………………… 33 5. THESIS TITLE IN ENGLISH: Summary and key words………………………………. 40 6. NASLOV RADA NA HRVATSKOM JEZIKU: Sažetak i ključne riječi………………. 40 Brala 5 1. Introduction The TV series Supernatural first aired in 2005 and is an US-american show about the brothers Sam and Dean Winchester who spend their time driving cross-country in their ‘67 Chevy Impala, hunting demons, monsters and other supernatural entities. While at first glance, the definition of the series seems to tell all about it in a few words, Supernatural, like few other TV shows over the years, has already earned a cult status, often being ranked with true classics of the TV horror genre such as The X Files, Twilight Zone, and Twin Peaks (Rolling Stone, 2.9.2017). Initially aimed towards a young, male audience demographic, including guns, muscle cars and a soundtrack compiled almost exclusively of classic rock songs alongside their very masculine protagonist, writers mainly introduced female characters to the show in an effort to “sex [it] up” (Supernatural Audience Demographic, 17.8.2019). This resulted in an array of one-dimensional, easy to charm and quick to die female characters, serving as devices driving the plot or furthering the male protagonists’ story arc, especially throughout the first few seasons of the show. This paper centering on Supernatural’s female characters aims to present an analysis which is founded on various facts and metadata but bound into a comprehensible unit, forming an academic insight into one of today’s longest running scripted TV series. What would be interesting to learn is whether the range of female characters differs throughout the seasons and at which point more fully fleshed out women were introduced, if so. The paper will be focusing on Supernatural’s most notable female characters who have left their distinctive mark on either, or both, plot and fan culture, and sort them by their overall typology introduced by the horror genre which has been a prevalent influence of the show. These women will be divided into three categories, seemingly based on their ability to fend for themselves, but really playing distinct roles to either service the development of other characters, the plot itself, or the audience watching it unravel. The three archetypes chosen are Brala 6 the Damsel in Distress, the Female Villain, and the Action Heroine. Though it is important to mention that the oldest character archetype present in the show and analysed in this paper, the Damsel, is deeply rooted in the history of gothic literature, and represents the genre’s connection to horror, where she also resides, which is why part of the analysis will include gothic fiction as a point of reference. Furthermore, the analysis presented will take into consideration their first appearance, function in the episode/season, number of episodes and whether she has survived beyond her service to the plot. The sources used will vary from writings in gender theory and theories about feminism and the horror genre in different media, to academic papers specifically about the show, its influences and how they were applied. 2. Women of Horror throughout History Although perceived differently in the general public’s conscience, women have always played a role in the horror genre since its earliest times - be it as tellers of cautionary tales at home, establishers and forerunners of the genre itself (like Mary Shelley or Jane C. Loudon), heroines within the stories who suffer and die, or live and thrive, all the way to women being the source of the horror in the tale being told. The genre has existed for long, and has been popular enough even by modern standards that specific archetypes had time to develop, fully form, be exploited, turned into clichés, be parodied and, eventually, subverted in an attempt to surprise the audience. Harrington (76) names five character archetypes: “the jock, the scholar, the slut, the fool, and the virgin,” which have been represented in the postmodern horror movie, two of which are reserved almost exclusively for female characters. Interesting to note is that both “the slut” and “the virgin” are roles defined by the character’s relationship to sex, with the virgin more often than not being the designated survivor, which builds on a tradition of gothic narratives setting apart the Mina Harkers from the Lucy Westenras in the story - but Brala 7 with today’s media being more direct than Stoker’s Victorian analogies for what is seen as sexual deviancy (Hughes, 199). It has to be remarked that in the majority of traditional narratives, female characters were most likely to play a passive role in the plot - they were abducted, locked away, and killed in various ways. Female characters have occupied the role of ‘Damsel in Distress’ for a long time, remaining characters who the plot happens to, and with little agency in the universe they live in as spectators and objects. In Her Body, Himself: Gender in the Slasher Film, Clover (205) refers back to Poe’s formulation that the death of a beautiful woman is “the most poetical topic in the world” and goes on to state that the aesthetic of a woman in peril has always been an appealing motif, but finding its home in the horror genre it has reached its full potential. Furthermore, continuing Poe’s formulation, that “the lips best suited for such topic are those of a bereaved lover” (55), the Damsel needs to be worth all the danger and bereavement her hero suffers, and her worth needs to be relatable to the viewer. Therefore, the Damsel needs to be beautiful, the image of perfection, which simultaneously serves the effect that, in her ultimate death, she both represents and defies the mortality of man, reaching her most desirable form (Bronfen, 57-76). We can find many examples of this type of character, ranging from Romantic fiction over slasher films to modern horror movies, featuring a female victim whose fate is the driving force behind the (typically male) hero’s actions. The Damsel herself does not get a distinct and independent development arc, or does so extremely rarely, with it almost never turning out as elaborate as her male counterpart’s. Her role is solely to drive the plot forward and thus create the struggles and hardships the hero has to master in order to save her, from which he grows as a character. It is considered that the general skeleton for this character archetype had been set by gothic novels in the eighteenth century such as Walpole’s Castle of Otranto (1764), spilling over the bounds of the genre and influencing almost all written and visual horror to come. Following the formula, there always Brala 8 is a beautiful female threatened by a powerful man, herself being unable to defeat him and therefore seeking rescue by a (preferably equally beautiful) male hero, who then gains the right to claim her as a willing prize for his heroism. Alternatively, in Shelley’s Modern Prometheus (1918) Viktor Frankenstein is content to disregard the Creature’s warnings, pleading and threats until his beloved Elizabeth is murdered, her death ultimately spurning him into action and painting him as the bereaved avenger at last. With the rise of the slasher movie in the sixties and seventies, the Damsel in Distress was no longer being saved from the monster, but instead evolved to be the ultimate victim. Female characters in such franchises are regularly “objectified and shown as nothing more than sex objects, (...) taking away the audience’s ability to sympathize with them because they are seen as less valuable” (Wickersham 2), meaning they are often simply screaming and clumsy prey adhering to the beauty standard of the time, destined either to be saved by someone else or, which is more likely, to be killed in a horribly bloody manner. However, through movies like Texas Chainsaw Massacre (1978) or Halloween (1978), something else made its way into popular culture: the concept of the Final Girl. According to Clover, the Final Girl is the one designated to survive the horror movie. In her book Men, Women and Chainsaws (1993) Clover (35) wrote: “The image of the distressed female most likely to linger is the one who did not die: the survivor, or Final Girl.